Before “judgment layer” was language I had for it, this was the job in practice: turn game metrics into creative decisions a dashboard couldn’t make on its own. Led marketing for 10+ global game titles, including The Hobbit: Kingdoms of Middle-earth, Fast & Furious: Legacy, and Marvel Contest of Champions with Warner Bros., through a stretch of rapid platform shifts that ended in a $1B acquisition.
Patent Holder
Created a patent for coding emails to specify features by device type, one of the earliest examples of designing for how people actually experience something, not just how it’s built.
Key areas
How players think — the work started with the player, not the product. A Hobbit fan and a Fast & Furious player arrive looking for completely different things, and creative only lands when it meets someone inside a story they already care about. Building that persona instinct here is what taught me how a brand actually comes to life: not by describing itself, but by showing up inside a world someone is already invested in.
Campaign and acquisition creative — designed campaign, advertising, and social creative across 10+ global titles, partnering with user acquisition, product marketing, and game development teams to ship assets that performed hard and still held brand consistency across every launch.
Design by data — treated performance data as the starting point, not the verdict. The metrics told us what players did; the judgment call was which story beat to lead with, which character to put front and center, and when the numbers were measuring the wrong thing entirely.
Brand worlds across every surface — carried each game’s identity through video and animation, website experiences, UX/UI collaboration, packaging and merchandising, and print, so the world held together wherever a player ran into it, through constant platform pivots during the mobile gaming boom.
